184,903 research outputs found
Douze Petites Pieces Pour le Clavecin ou Piano-Forte : Oeuvre 3 / Composées par J. G. Ferrari
No full textDOUZE PETITES PIECES POUR LE CLAVECIN OU PIANO-FORTE : OEUVRE 3 / COMPOSÉES PAR J. G. FERRARI
Douze Petites Pieces Pour le Clavecin ou Piano-Forte : Oeuvre 3 / Composées par J. G. Ferrari (1)
Titelseite (1)
No. I. (2)
No. II. (4)
No. III./IV. (6)
No. IV. (7)
No. V. (10)
No. VI./VII. (12)
No. VII. (13)
No. VIII./IX. (14)
No. IX. (15)
No. X. (16)
No. XI./XII. (18)
No. XII. (19
FERRARI, A., SCHWERTNER, C.F. & GRAZIA, J. (2010) Review, cladistic analysis and biogeography of Nezara Amyot & Serville (Hemiptera: Pentatomidae). Zootaxa, 2424, 1–41.
No full textFERRARI, A., SCHWERTNER, C.F., GRAZIA, J. (2010): FERRARI, A., SCHWERTNER, C.F. & GRAZIA, J. (2010) Review, cladistic analysis and biogeography of Nezara Amyot & Serville (Hemiptera: Pentatomidae). Zootaxa, 2424, 1–41. Zootaxa 2480: 68, DOI: 10.5281/zenodo.89396
Ferreira, Ferrari: ficções do exílio
No full textTese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Literatura, Florianópolis, 2015.Esta é uma leitura dos exílios de Ferreira Gullar e León Ferrari, durante as últimas ditaduras militares que tomaram conta do Cone Sul, incluindo Brasil e Argentina. Entre 1971 e 1977, Gullar passou por Moscou, Santiago, Lima e Buenos Aires, além de outras cidades, enquanto Ferrari, por sua vez, estabeleceu-se com sua família em São Paulo do final de 1976 até 1984, sendo que após esse período ainda dividiria por alguns anos a sua permanência entre a capital paulista e Buenos Aires. Alguns de seus mais notáveis trabalhos foram realizados no exílio, de modo que a configuração de uma paisagem ou cena exílica torna-se indissociável das experiências conduzidas com a linguagem. Em poucas palavras: embora marcado pela tanatopolítica castrense e pelo nomos gestor do capital global, é possível afirmar que o exílio não está dado de antemão e nem permanece sempre o mesmo, quer seja como dano ou como dádiva; é somente com a linguagem  a imagem, o sensível  que uma experiência exílica, sempre singular e radicalmente contemporânea, pode encontrar a sua superfície de exposição, quer dizer, a sua diferença. Conquanto sejam profundamente dessemelhantes, os exílios de Ferreira Gullar e León Ferrari não deixam de mostrar afinidades, sobretudo nos momentos em que suas experiências tocam um ponto comum: o espaço  um topos  a-tópico da impropriedade, da potência, da in-operatividade que, com a linguagem, resiste indomesticável às tentativas de cristalização da língua, do povo, do poder, da nação. Foucault, Saer, Coccia e outros autores franqueiam um pensamento da ficção enquanto construção contingencial capaz de desnaturalizar os usos do discurso e a teleologia que assedia constantemente a literatura, as artes, a história. De certo modo, a ficção ¬repete, expõe e portanto difere as fábulas, ao mesmo tempo em que expõe e difere a si mesma. É essa operação in-operante, esse trabalho afirmativo da negatividade que suspende a maquinaria imunitária, autonomista, da civilização ocidental e cristã.Abstract : This is a reading of both Ferreira Gullar and León Ferrari s exiles, during the last military dictatorships that took account of the Southern Cone, including Brazil and Argentina. Between 1971 and 1977, Gullar went through Moscow, Santiago, Lima and Buenos Aires, and other cities, while Ferrari settled with his family in São Paulo from late 1976 until 1984, and thereafter still divided for a few years his stay between São Paulo and Buenos Aires. Some of his most notable works were carried out in exile, so that the configuration of an exilic landscape or scene becomes inseparable from experiments conducted with language. In short, although marked by military thanatopolitics and the nomos of global capital manager, it is possible to say that exile is not given in advance and not always remains the same, whether as damage or as a gift; it is only with the language  the image, the sensible  that an exilic experience, always singular and radically contemporary, can find its exposure surface, that is, its difference. While they are profoundly dissimilar, Ferreira Gullar and León Ferrari s exiles show their affinities, particularly at times when their experiences play a common point: the space  a topos  a-topic of the impropriety, potency, of in-operativity that, together with language, resists untamable against all crystallization attempts on the idiom, people, power, and nation. Foucault, Saer, Coccia and other authors frank a thought of fiction as a contingency construction able to denature the uses of speech and the teleology that constantly haunts literature, arts, and history. In a way, fiction repeats, exposes and therefore differs fables, while exposes and differs itself. It is this in-operative operation, this affirmative work of negativity that suspends the immunitary machinery of Christian Western civilization
Proceedings of ACM Symposium on Access Control Models and Technologies, SACMAT: Foreword
No full textADULT INVENTORY OF PROCRASTINATION SCALE (AIP): A COMPARISON OF MODELS WITH AN ITALIAN SAMPLE
No full textThe present study analyzed the psychometric proprieties of the Adult Inventory of Procrastination (AIP) by McCown and Johnson (1989) with an adult Italian sample (n = 305) by comparing three construct models. Models included: 1) the original uni-dimensional structure; 2) a Spanish model with two components — lack of punctuality and lack of planning (Díaz Morales, Ferrari, Diaz, & Argumendo, 2006); 3) a Turkish model with two components reflecting positive aspects of avoidance and negative aspects of avoidance (Ferrari, Özer, & Demir, 2009). Moreover, two models using the Adult Inventory of Procrastination and the Decisional Procrastination Scale were analyzed using scores on the AIP: the
four-component model of Díaz Morales et al. (2006) and Steel’s (2010) three-factor model of procrastination. Results showed that the original uni-dimensional model provided the best fit. Both internal consistency for reliability, and convergent and discriminant validity with other measures supported the uni-dimensional psychometric properties of the Italian AIP
The Institutionalization of Islam in Europe
No full textThe chapter is divided into two parts. The first part, authored by Silvio Ferrari, examines the issue of Islam's institutionalization from a theoretical point of view, taking into account the context, the players, and the dynamics. The second part, authored by Rossella Bottoni, is a literature review focusing on the notion and uses of the interpretative category "Institutionalization of Islam", as well as on comparative studies on the topic
Motor racing, tobacco company sponsorship, barcodes and alibi marketing
No full textBackground Sponsorship of Formula One (F1) motor racing, which has been used as an indirect medium of tobacco advertising for several decades, was prohibited by the 2005 European Union Tobacco Advertising Directive. Most F1 tobacco sponsorship of motor racing in the EU has since ceased, with the exception of the Scuderia Ferrari team, which continues to be funded by Philip Morris. In 2007, the Marlboro logo on Ferrari cars and other race regalia was replaced by an evolving ‘barcode’ design, which Ferrari later claimed was part of the livery of the car, and not a Marlboro advertisement.
Objective: To determine whether the ‘barcode’ graphics used by Ferrari represent ‘alibi’ Marlboro advertising.
Methods Academic and grey literature, and online tobacco industry document archives, were searched using terms relevant to tobacco marketing and motorsport.
Results Tobacco sponsorship of F1 motor racing began in 1968, and Philip Morris has sponsored F1 teams since 1972. Phillip Morris first used a ‘barcode’ design, comprising red vertical parallel lines below the word Marlboro on the British Racing Motors F1 car in 1972. Vertical or horizontal ‘barcode’ designs have been used in this way, latterly without the word Marlboro, ever since. The modern ‘barcode’ logos occupied the same position on cars and drivers' clothing as conventional Marlboro logos in the past. The shared use of red colour by Marlboro and Ferrari is also recognised by Philip Morris as a means of promoting brand association between Marlboro and Ferrari.
Conclusion The Ferrari ‘barcode’ designs are alibi Marlboro logos and hence constitute advertising prohibited by the 2005 EU Tobacco Advertising Directive
[Report to Chief J. E. Curry, by an unknown author #1]
No full textReport to Chief J. E. Curry, by an unknown author. The report contains a list of officers who gave depositions to the United States Attorney
[Report to Chief J. E. Curry, by an unknown author #2]
No full textReport to Chief J. E. Curry, by an unknown author. The report contains a list of officers who gave depositions to the United States Attorney
Conversation on Effects of Equus with Michael Ferrari, Provost
No full textIn May of 1985, Abe Bassett interviewed Michael Ferrari about the Equus play held at Wright State University and all of the controversy that surrounded it
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